KRS-One, originally a member of the hip hop crew Boogie Down Productions, is known for setting the path for both hardcore rap and socially conscious political rap.
Youth and early career
Born Lawrence Parker in the Park Slope neighborhood of Brooklyn in 1965, the future KRS-One grew up with his brother Kenny and their single mother in assorted inner city neighborhoods of Brooklyn and the Bronx. According to interviews with The Source Magazine, one fateful day when he was 12 years old, he and his brother Kenny prepared a pan of flavored rice, which was to be the family's dinner for the evening. The hungry pair ate the whole thing, and when their mother came home from work, she kicked them out of the apartment in a fit of anger. They stayed away for two days before younger Kenny decided to go back home, while Lawrence opted not to return. He spent the better part of the next seven years homeless, much of it at local libraries.
In his late teen years, Lawrence Parker fell in with some illegal drug dealers and became a courier. Using a bread delivery truck as a cover, Parker and his partner drove around town to make drops. During one of their trips, a police car pulled up behind them with flashing lights. Parker's partner panicked, and led the cops on a chase for several miles which ended with the truck crashing and the two being apprehended. At the trial, the judge made the commentary that the only reason the police had initially tried to pull them over was because they had private plates on a commercial vehicle, there was no original intent to search for drugs.
Parker, still a minor, claimed he was a ward of the state, and got sent to a juvenile home for his sentencing, after which he was moved to a Covenant House youth homeless shelter. It was there that he met Scott Sterling, a recent college graduate who just started working at the shelter as a social worker. Parker discovered that Sterling moonlighted as a hip hop DJ under the name Scott La Rock. By this time, Parker had earned the nickname "Kris" from the relationship he had developed with local Hare Krishnas that evangelized near the shelter. Heavily influenced by Eastern philosophies, he was also an aspiring rapper, and practiced routines in verbal spars with the other shelter residents.
Parker and Sterling, along with two other fellows, decided to form a rap group together, initially calling themselves "Scott La Rock and the Celebrity Three". That was short-lived, however, as the two peripheral members quit, leaving Parker (now calling himself KRS-One) and Sterling. They then decided to call themselves "Boogie Down Productions". Success is the Word, a 12-inch single release on indie Fresh/Sleeping Bag Records (under the group name "12:41") did not enjoy commercial success. Soon after, the pair approached another NY indie, Rock Candy Productions, for a deal. As it turns out, the entertainment company was allegedly a front for a pornography operation, but Parker and Sterling convinced the boss to front them the money to record an album, under the newly created subsidiary label, B-Boy Records. After a few 12-inch single releases, the Criminal Minded album finally surfaced in 1987.
Criminal Minded featured many dis tracks that attacked other hip hop emcees and tracks about street crime ("wa da da deng wa da da da deng, listen to my nine millimeter go bang"). KRS One and La Rock appeared on the cover of the album holding firearms, a controversial precedent that would be followed by many rap artists in the years to follow. Musically, the album was based around James Brown samples and reggae influences. They also sampled hard-rock band AC/DC on "Dope Beat". During these years, KRS-One was also famously involved in a hip hop battle with MC Shan, of Queensbridge. KRS objected to MC Shan calling Queensbridge the home of hip hop, and attacked him viciously on a seminal battle rap, The Bridge Is Over.
Later career and emphasis on political issues
Following the fatal shooting of Scott La Rock in 1987, Boogie Down Productions (BDP) became increasingly political. KRS One was the primary motivation behind the HEAL compilation and the Stop the Violence Movement. KRS One attracted many prominent emcees to appear on the 12-inch single "Self Destruction." As Parker adopted this more conscientious, less violent approach, he stopped calling himself "The Blastmaster" (his battle rap nickname), and instead began calling himself "The Teacha", turning the nickname KRS-ONE into the backronym "Knowledge Reigns Supreme Over Nearly Everyone".
On his first solo album, 1993's Return of the Boombap, KRS worked together with producers DJ Premier (Gang Starr), Showbiz and Kid Capri. The catchy yet very hardcore track "Sound of da Police" is featured on this album. His second album, KRS One featured Channel Live on the track "Free Mumia", a political protest song about Mumia Abu-Jamal, an imprisoned African-American and Black Panther member who a vocal group of activists on the political Left claim is innocent of the crime of which he was convicted. Other prominent guest artists on KRS One included Mad Lion, Busta Rhymes, Das EFX and Fat Joe.
In 1997, Parker surprised many with his release of the album I Got Next. The record included a remix of the single "Step into a World" which featured a sample from the 1970s rock group Blondie by commercial rap icon Puff Daddy. "Heartbeat", featuring Angie Martinez and Redman, was based on the old school classic "Feel the Heartbeat" by the Treacherous Three. These collaborations with notably mainstream artists took many fans and observers of the vehemently anti-mainstream KRS One by surprise. However, in August 1997 KRS One appeared on Tim Westwood's BBC Radio 1 show and vociferously denounced the DJ and the radio station more generally, accusing them of ignoring his style of hip-hop in favour of commercial artists such as Puff Daddy.
In 1999, there were tentative plans to release an album called "Maximum Strength"; a lead single, "5 Boroughs", was released on The Corruptor movie soundtrack. However, KRS apparently decided to abort the album's planned release, just as he had secured a position as a Vice-President of A&R at Reprise Records. KRS moved to southern California, and stayed there for two years, finally ending his relationship with Jive Records with A Retrospective in 2000. The next year, he resigned his position at Reprise and in 2001 The Sneak Attack was released on Koch Records. In 2002, he released a gospel-rap album, Spiritual Minded, surprising many longtime fans. Parker had once denounced Christianity as a "slavemaster religion" which African-Americans should not follow. He founded the Temple of Hiphop, and released a new album, Kristyles, in mid- 2003, which was preceded by KRS-One: The Mixtape. In the summer of 2004 he released Keep Right.
KRS One's latest CD Life, was released in June 2006, and another CD, Adventures in Emceein on Koch Records is slated for later in the year. KRS has also confirmed for his next album of new material, expected to be out in 2007, he will be working with Marley Marl.
September 11 comments and ensuing controversy
In 2004, KRS engendered a controversy when he was quoted in a panel discussion hosted by New Yorker Magazine as saying that Blacks "cheered when 911 happened". The comment drew criticism from many sources, including a pointed barb by the New York Daily News that called Parker an "anarchist" and said that "If Osama bin Laden ever buys a rap album, he'll probably start with a CD by KRS-One."
Parker responded to the furor surrounding his comments with an editorial written for AllHipHop.com. In it, Parker said "I was asked about why hiphop has not engaged the current situation more (meaning 911), my response was 'because it does not affect us, or at least we don’t perceive that it affects us, 911 happened to them'. I went on to say that 'I am speaking for the culture now; I am not speaking my personal opinion.' I continued to say; '911 affected them down the block; the rich, the powerful those that are oppressing us as a culture. Sony, RCA or BMG, Universal, the radio stations, Clear Channel, Viacom with BET and MTV, those are our oppressors those are the people that we're trying to overcome in hiphop everyday, this is a daily thing. We cheered when 911 happened in New York and say that proudly here. Because when we were down at the trade center we were getting hit over the head by cops, told that we can’t come in this building, hustled down to the train station because of the way we dressed and talked, and so on, we were racially profiled. So, when the planes hit the building we were like, 'mmmm, justice'. And just as I began to say 'now of course a lot of our friends and family were lost there as well' but I was interrupted..."
Feel This
KRS-One Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Get 'em, get 'em (that's be & NYCE)
Get 'em, get 'em (ha ha)
Get 'em, get 'em
(Chorus: KRS-One)
Let's go, let's start the show
Contracts and dough, you came to hear Kris
Watch how I flow, you came to feel this
Let's go, live MC rappin
Cut mix and scratchin, you came to see me
Let's go, let's make it happen
For your satisfaction, you came to be free
(KRS-One)
From all the bull, from all the push, from all the pull
From all the critics and the cynics that there happens to be
Relax from the attacks, there's no battlin me
Write whatever you like, I will rattle you G
No hassle for me, with the freestyle skill
Believe I'm ill, chill, I be surpassin MC's
Ain't too many faster than me man
Neck movin, sweat oozin, schoolin, that's how we jam
I write with a free hand, I write with a purpose
If you bought the CD, thanks for the purchase
If you downloaded the album then COME to the concert
Don't sit in front of the computer 'til your eye hurt
Get up, get out, and join the movement
Hip-Hop culture is more than music
And I'ma prove it, whether freestyle or written
Ax yourself how KRS still spittin
(Chorus)
(NYCE)
Me and my niggaz go to the club with hooded jeans and boots
Fuck a dress code, fuck a tie, fuck your shoes and suits
We rock doo rags to fitteds, and throwback jerseys
Front pockets with cash, paint a wall with a slash
Gettin our drink on, burnin trees, eyes lookin Japanese
Whylin out because the DJ threw on M.O.P.
Peepin how the ballers with the gators is hatin
But fuck what they be talkin this is straight from the streets
They got war comin out they mouth but they don't want beef
Cause yo I snatch them outta they ride, click click, surprise
Run your jewels, your shoes, before you make tonight's news
All downs are bet, and I'm playin for keeps
Actin like you gon' scheme, then my man gon' squeeze
Word to the (?) cause I knows you don't want it
You be up in, () tear while I be, everywhere
Yeah, it's like that what?
(Chorus)
In "Feel This", KRS-One creates a call-to-action for hip-hop fans to appreciate and participate in the culture beyond just listening to the music. He presents himself as an example of an MC who rises above criticism and negativity, with the freestyle skill to battle anyone who tries to compete with him. He encourages fans who downloaded his album to come to concerts and join the movement. NYCE, who contributes a verse, provides a contrast to KRS-One's uplifting message with his gritty, street-centered lyrics about clubbing, stealing from ballers, and violently retaliating against anyone who opposes him. Together, the two rappers create a complex portrait of hip-hop culture that can be about both creativity and struggle.
The chorus of the song, "let's go, let's start the show, contracts and dough, you came to hear Kris, watch how I flow, you came to feel this, let's go, live MC rappin, cut mix and scratchin, you came to see me, let's go, let's make it happen, for your satisfaction, you came to be free," is intended to hype up the audience and emphasize the importance of live performances, rather than just consuming music through albums or streaming services. KRS-One's verse also includes a reference to his own status as an icon in the genre with the line "Ax [ask] yourself how KRS still spittin," reminding listeners of his longevity and relevance in the scene.
Line by Line Meaning
Get 'em, get 'em (yeah yeah!)
Let's start the energy right now!
Get 'em, get 'em (that's be & NYCE)
Let's go get them with our crew Be & NYCE!
Get 'em, get 'em (ha ha)
Let's laugh and enjoy this!
Get 'em, get 'em
Let's keep the hype up!
Let's go, let's start the show
Let’s get this started!
Contracts and dough, you came to hear Kris
We’re here for the show, for the money, and to listen to KRS-One
Watch how I flow, you came to feel this
Listen to the unique skills I have and experience this moment formed with sounds and music.
Let's go, live MC rappin
Let’s get live!
Cut mix and scratchin, you came to see me
You came to see me perform with cuts, mixes and scratches
Let's go, let's make it happen
Come on, let’s make this happen!
For your satisfaction, you came to be free
You’ve come here to be entertainment and free yourself
From all the bull, from all the push, from all the pull
I’m trying to get away from everything stressful and controversial.
From all the critics and the cynics that there happens to be
The negative criticism and judgments that may cloud my environment.
Relax from the attacks, there's no battlin me
I’m unhindered and unbeatable, so there’s no need for further conflict.
Write whatever you like, I will rattle you G
I will continue writing and performing, which will challenge and intimidate other rappers.
No hassle for me, with the freestyle skill
I’m a true performer and artist, naturally gifted with my rapping skills, requiring no stress or hard work.
Believe I'm ill, chill, I be surpassin MC's
Believe it or not, I’m one of the best MCs, I’ve mastered the rap game.
Ain't too many faster than me man
There’s only one KRS-One! I’m fast and unbeatable.
Neck movin, sweat oozin, schoolin, that's how we jam
When we are performing, we let everything go, moving our necks and sweating, and having fun.
I write with a free hand, I write with a purpose
I write my lyrics from their heart, with a goal and a message to convey.
If you bought the CD, thanks for the purchase
Thanks for supporting me with your purchase.
If you downloaded the album then COME to the concert
If you enjoyed the album, come to the concert and have the full experience.
Don't sit in front of the computer 'til your eye hurt
Don’t waste all your time in front of the computer screen, go out and socialize.
Get up, get out, and join the movement
Escape your comfort zone and join the hip-hop culture.
Hip-Hop culture is more than music
There's more than just rap in the hip-hop culture.
And I'ma prove it, whether freestyle or written
I will show and prove how the hip-hop culture goes, whether it’s freestyled or prepared.
Ax yourself how KRS still spittin
You might wonder how I never lose touch, always being at the top.
Me and my niggaz go to the club with hooded jeans and boots
I and my friends go to the club with our casual and streetwear.
Fuck a dress code, fuck a tie, fuck your shoes and suits
We don't care about dress codes, ties, shoes or suits.
We rock doo rags to fitteds, and throwback jerseys
We wear doo rags and fitted hats with our throwback jerseys.
Front pockets with cash, paint a wall with a slash
We carry cash on us and vandalize walls.
Gettin our drink on, burnin trees, eyes lookin Japanese
We're drinking, smoking weed and our eyes get slanted.
Whylin out because the DJ threw on M.O.P.
We get hype when DJ plays the music we love.
Peepin how the ballers with the gators is hatin
We notice how the wealthy guys are hating on us for our casual wears.
But fuck what they be talkin this is straight from the streets
We don’t care what they say, our clothes represent our community.
They got war comin out they mouth but they don't want beef
They talk about war, but they don’t want to start conflicts with us.
Cause yo I snatch them outta they ride, click click, surprise
I quickly pull them out of their car before they realize it.
Run your jewels, your shoes, before you make tonight's news
Give us the money and jewelry, else things would go public.
All downs are bet, and I'm playin for keeps
I'm being serious and playing the game for the win.
Actin like you gon' scheme, then my man gon' squeeze
If you make a move, my people are loyal to me and will take action.
Word to the {?} cause I knows you don't want it
I'm headed for success and you can't stop me.
You be up in, {?} tear while I be, everywhere
While you're watching through your window, I'm outside and unstoppable.
Yeah, it's like that what?
That's the way it is!
Lyrics © O/B/O APRA AMCOS
Written by: Lawrence Parker
Lyrics Licensed & Provided by LyricFind
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